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“Irishness” is a very nebulous quantity. It can be very hard to precisely quantify. In humour, it tends towards a blend of irony and irreverence, often a surreal juxtaposition of the mundane with the surreal. As such, Extra Ordinary feels like a very Irish ghost story. It is a film anchored in the tropes and conventions of ghost stories – possessions, exorcisms, hauntings, satanic pacts – but which contextualises these things as just another minor frustration of country living. As the title implies, Extra Ordinary exists at the junction of the familiar and the uncanny. If the team produce a sequel, they should call it “Super Natural.”

Driving curiosity.

Extra Ordinary adopts a uniquely Irish approach to its premise, wondering what happens to those ghosts that are a bit less dramatic and lot more mundane than the usual spirits. There’s something engagingly quirky in Extra Ordinary’s depiction of the eccentricity of country living, and how so much of that eccentricity just goes on as a fact of life; the dancing lead attached to a discarded toaster, the tree branch that sways without even a breeze, the wheelie bin that just keeps flapping through the night. This is just the way that things are in this part of the world, and the locals have (mostly) made their peace with it.

Despite its supernatural premise, the most endearing aspect of Extra Ordinary is how perfectly it captures the smaller and more intimate eccentricities of the Irish countryside.